元雜劇為中國戲曲文本成熟之標誌，其體製規律為一本四折(或外加楔子)、一人獨唱(末本或旦本)、每折用同一宮調等等，此體製規律在戲曲發展的過程中，具有何種意義？在此體製規律之下，劇作家如何結撰劇本以推展故事、塑造人物、發揮主旨？劇作反映了什麼樣的思想內涵？呈現出如何的時代風貌？對於明清以後的戲曲發展又具有何種影響？以上均是本課程在引領學生研讀元雜劇經典劇本之餘，需要思考討論的重要議題。

Yuanqi drama is a magazine for the maturity of Chinese drama texts. Their composition rules are one book, four folds (or wedges), one person sings alone (last or Dan version), and use the same palace to tune each fold, etc. What meaning does this composition rules have in the process of the development of the composition? Under this rule of production, how can writers write scripts to promote stories, shape characters, and create themes? What kind of ideological connotation does the drama reflect? What is the style of the times? What impact does it have on the development of the plot after the Ming and Qing dynasties? The above are all the important topics that this course has led students to study the classical classics of various dramas, and it is necessary to think about and discuss.

曾永義著，《參軍戲與元雜劇》，台北︰聯經，1992
張淑香著，《元雜劇中的愛情與社會》，台北︰大安，1980
曾永義等選注，《戲曲選粹》，台北︰國家，2001
王季思主編，《全元戲曲》，北京︰人民文學，1990

Zeng Yongyi, "The Military and Yuan Dynasty Drama", Taipei: Union, 1992
Zhang Shuxiang, "Love and Society in Yuan Dynasty Drama", Taipei: Da'an, 1980
Zeng Yongyi and others selected betting, "The Choice of the Song", Taipei: Country, 2001
Edited by Wang Jisizhu, "Quanyuan Song", Beijing: People's Literature, 1990